By Samuel Fanous, Henrietta Leyser, C.H. Talbot
Samuel Fanous and Henrietta Leyser current a shiny interdisciplinary examine dedicated to the lifestyles, paintings and extant vita of Christina of Markyate, which pulls on learn from a variety of disciplines. This attention-grabbing and accomplished assortment surveys the lifetime of a unprecedented medieval lady. Christina of Markyate made a vow of chastity at an early age, opposed to the needs of her mom and dad who meant her to marry. while compelled into wedlock, she fled in hide and went into hiding, receiving safe haven in a community of hermitages. Christina turned a non secular recluse and finally based a priory of nuns connected to St. Albans. superbly illustrated, this e-book presents scholars who on a regular basis come upon Christina with a learn compendium from which to start their reports, and introduces Christina to a much wider viewers.
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Extra info for Christina of Markyate
119) she presses him to her breast and feels his presence within her. Sometimes the imagery, we may suspect, is of a ‘popular’ rather than a ‘learned’ kind: the threatening bulls; the toads; the devil’s black teeth; the wicked cleric appearing as a savage shaggy bear. Christina is sometimes allowed (or invited) to take part in a scene, as in the elaborate example where in a church a man in priestly garments gives her a branch of leaves and flowers and tells her to offer it to the lady sitting like an empress on a dais near the altar; going down, she passes Burthred and then goes to an upper chamber where she is again comforted by the empress (Life, pp.
1154) wrote a dialogue between Luke and Cleophas on the road to Emmaus; they meet the risen Christ and Thomas’s doubts are finally resolved: ‘this is the first piece of verse liturgical drama in Anglo-Latin’ (Rigg, A History of Anglo-Latin Literature, pp. 57–8). As well as the moment of Christ’s disappearance, the yearning of the disciples for their master had dramatic potential: in the twelfth-century play from Vic, Catalonia, Mary Magdalen searches for her divine lover and there is a joyful recognition (Versus de Pelegrino), in Nine Medieval Latin Plays, ed.
He is sometimes simply used as a pawn or shown yielding to the scorn of his friends or (not without hesitation) to the fury and the bribes of her parents. When he first agrees to release his wife he is praised for his ‘wise and religious sentiments’ (Life, pp. 87–91), but he appears much less noble in the scene before the bishop (who has been bribed) when he insults her and boasts of his success. His furor takes over until his final penitent appearance. It is the character of Christina which dominates the book.